Serious music composed and/or played on your computer can still risk sounding squeaky, scrappy… just plain artificial.
MIDI files can be all very well; but there’s a danger that every instrument sounds like a tin bassoon!
Digital Audio Workstations (DAW’s) and notation software like Finale and Sibelius have made great progress towards realism in recent years. But they still need to reach into the real acoustic world in two long and deep ways in order to pass muster.
First, they must have credible-sounding professionally-sampled virtual instruments (VI’s). But just as importantly, there must be a sense of acoustic space: reverberation, three-dimensionality, distance from (perceived) source – and, ideally, the very essence of a venue’s “personality”.
Such sampling technologies are areas in which Vienna Symphonic Library (VSL) leads the field by a long way. The Austrian company of dedicated musicians and acoustic, technical and audio experts produces MIR Pro – recently upgraded to become, without doubt, the front-runner of a tiny clutch of similar products.
By co-incidence, the MIR Pro range is also on sale for the whole of this month, April 2013.
North American distributors:
Virtual Instruments (VIs) allow you to work with lifelike sounds in sequencers and Digital Audio Workstations (DAWs) like Apple’s Logic and notation packages like Avid’s Sibelius. (Avid has just announced Sibelius 7: watch for a review here shortly.)
VIs are collections of acoustic/sampled and/or electronically synthesized sounds with varying degrees of realism and flexibility of use. Formerly hardware-based, VIs are now available almost entirely as software. They range from the cheap, barely tolerable and tinny to… well, to those produced and sold by Vienna Instruments.